When I was a gezegde

 When I was a kid I listened to a lot of punk music, but then along came Orange Juice, ... They really broadened my musical perspective. They were self-deprecating and had a great sense of humor. And they sounded like Velvet Underground meeting Al Green. They called themselves 'the sound of young Scotland,' a play on Motown's 'Sound of Young America.'

 Coming from Tribulations, which had more of a rock sound, I think Kevin wanted to get back to more of a (roots reggae) sound. A lot of the early '60s and '70s Jamaican music based itself off the Motown sound, and that was the big thing for Kevin: the vocal harmony and the composition.

 We're a punk band, not so much from a sound perspective, but I still feel like we maintain a punk approach to what we do. But (punk) is not the most accepting community, it's really rather conservative. So we felt like we had to go against that.

 Punk is not just the sound, the music. Punk is a life-style. There are a lot of bands around who claim to be punk and they only play the music, they have no clue what it's all about. It's a life-style I chose for myself.
  Billie Joe Armstrong

 Hayden came back and said, 'Listen, I just listened to all of those guys and if we're just sound in everything we do, if we're sound on offense, we're sound on defense and we're sound in the kicking game, we'll win at least four (Big Ten) games,'

 Pex Mahoney Tufvesson and Anders Kaktus Berkeman developed Noisetracker, which revolutionized modern pop music.

 I wanted to do something that had a purely musical inspiration, and I was inspired by the sound of choirs and the English pastoral music I used to hear when growing up. I was also inspired by the textures and rhythmic vitality of the so-called minimalists, Philip Glass and John Adams, and I'm always intrigued by the sound of the recording studio.

 Phil left such an incredible legacy of music, there's hours of great stuff. We're gonna play all the hits and some classic album tracks. We got together to play, and it didn't sound too bad. In fact it sounded great and it was a lot of fun.

 Our inmost yearning, our deep desire for harmony in an extra-musical, transcendental sense feels affirmed, confirmed and calmed by music, and in this sense music seems to me a message a lofty ethical message that brings good tidings to the ethical part of our being from the mysteries of the world of sound.

 I met with great producers and composers, young people that wanted to give it all in their art, ... We were risking, we were daring to go places that we never went in music and because of it, I think there's a lot of spontaneity. We weren't doing music following any rules. I wanted to start from zero, as if it were the first album that I was recording, so I could present a new sound.

 It had hailed and it was just green, it was just absolutely green out there. I could hear the stuff hitting the roof, then we heard this awful sound, and it sounded like a train, and the (Ann Arbor Railroad) ran right through there, so we didn't pay much attention to it.

 (Our music) doesn't sound dated, because there are so many new bands that are trying to replicate a '70s sound or a '60s sound. The playing field is getting kind of leveled. If you want to go out and see what a big rock show can be, we're there to do it.

 I'm a huge fan of Neil Young, and those great albums of his sound so alive. Many CDs today sound perfect, quite boring. I wanted to have that life in the songs. To me Feeler was quite a safe-sounding album. I was quite angry about that for a long time because I let it happen. Of course I judge it more harshly than anyone else; it's not a bad record. But I learnt I have to give more direction on what I want.

 I hate to sound like a Pollyanna, ... but in a way [the ordeal] was kind of a blessing. It puts things in perspective. You learn who your friends are; you realize the importance of family. I was 18 when I did Sound of Music . My life started to get very linear; I started to get tunnel vision. [The injury] opened my eyes as to how I wanted to be as a human being.

 Steve's early work had a lasting effect on me. The density and the gravity of the sound was so great it prevents recollection. The power of Steve's music has to do with its sound. Tempo counts, and language is pushed to the breaking point, where the meaning of the word is obliterated and lets the music out.

 Antonio originally came to us for just sound design but the project quickly grew to us doing the music and sound design for both of these, ... He wanted it to be 'art-meets-the-street' and for it to sound more like a film score than a commercial because these are really not spots but mini-movies.


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


Barnslighet är både skattebefriat och gratis!

Vad är gezegde?
Hur funkar det?
Vanliga frågor
Om samlingen
Ordspråkshjältar
Hjälp till!